Lesueur Natacha

Born in 1971 in Cannes, Natacha Lesueur studied at the Villa Arson in Nice. Her first solo exhibition took place in 1996. She won the Ricard Prize in 2000 and resided at the Villa Medici in Rome in 2002-2003. She has exhibited in many countries in Europe, USA, Korea and China. The Charlotte Moser Gallery in Geneva and the Clara Maria Selz Gallery in Dusseldorf represent her work. Her works are present in the most prestigious public and private collections. A retrospective of his work was published by the MAMCO in Geneva in 2011. She lives and works in Paris.


The whole of Natacha Lesueur’s work is, since 93, essentially photographic. If photography ultimately determines her relationship to the image, she constructs her images as paintings. The photographic image comes to pose like a varnish on the compositions. Her artistic preoccupations revolve around the body, appearance, pageantry and the intimate relationship between flesh and food. This body, the subject of predilection, has been subjected in different series of images to different treatments that involve constraint, staging, and mask (between adornment and camouflage). She produces series, which follow one another without resembling each other, unfolding in an infinite variety where notions such as: the motif, the tour de force, the trompe l’oeil, the optical traps resonate with each other and make the very unity of the work. Half of his photographic production confronts the body with food (aspics as bathing caps (97-98), salmon skin as bun fishnet, legs covered with pork strainer (97-98), mouths whose teeth are seeds of all kinds (00), mounted pieces of food and hair (02-07), etc.). ) In other images, women’s bodies are marked with pearl imprints (94-96), vision test (00-01), sleeping men’s faces are encrusted with feather marks (04), nails are carved (97-03), young girls with red varnished teeth burst out laughing (07-08). In the series produced between (2011-14), she explores the figure of the actress Carmen Miranda and opens to the moving image . She uses the body as an inscription surface, a more or less regular support for the culinary preparations or the prints she places on it. Object of covetousness, the body is fragmented, it is one, it is all bodies.

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